"Eight Songs About: Symphony #7: The overall
vibe was often troubling yet the inner spirit was
somehow transcendent. In the dark times that we now
find ourselves in, this music seemed most appropriate. I
hope to hear this piece again on record since I
believe there is a lot more going on than my initial
listening."Bruce Gallanter - Downtown Music Gallery (FIMAV 2017)
"Brady then took over to direct "8 Songs
about: Symphony #7", a reflection, with script and
song, featuring on the historic performance of Dimitri
Schostakovith's Leningrad Symphony on Aug. 9, 1942. The
music was dramatic and compelling, the orchestra
and soloists succeeding in shining an artistic light on a
period of great darkness, with stunning impact.
The work deserves repeat performances!"Irwin Block - Avant Music News (FIMAV 2017)

Tim Brady's "100 questions, 100 réponses" (for
100 guitars): Aug. 2016
featured in a major article in The Guardian
(UK) on the history of the electric guitar:Read
HERE.

Instruments of Happiness CD - named one of the "Top
10 New Music CDs of 2016"George Grella - The Big City Blog (USA) -
Dec. 2016

Instrument of Happiness: Top
5 Classical Records 2016 - Music Times
Instruments of Happiness: Symphony #5.0 CD:
"At times beautiful colors float atop
chordal progression. This music will get you
dreaming, then wake you up with some incredible sounds, or
vice versa.

Electric guitarists Tim Brady, Gary Schwartz, Michel Héroux
and Antoine Berthiaume give us tour de force
performances, filled with precision, a flair for color, a
total world of electric sounds that realize
possibilities one might have dreamed about but rarely if ever
experienced. It reminds us that new music still can widen the
envelope of possibilities, still has the ability to point us
to the future, to the unknown, but always around the corner
from where we are now. Excellent!"Grego Appelgate Edwards - Gappelgate Classical-Modern
Reviews - May 2016

Instruments of Happiness: Symphony #5.0CD:
"One comes away with an appreciation of Brady's determination
to shape the concept of symphony to his own desire as both
composer and performer. As is the case with the memorable
symphonists of the past, the attentive listener gradually begins
to appreciate Brady's personal charcteristic take on what he
wants the symphony to be."Stephen Smoliar - San Francisco Examiner - June 2016

Instruments of Happiness: Symphony #5.0 CD:
"The very first track, a movement of Symphony 5.0,
titled Riff...quickly moves into an ear-capturing
riff that grows and spreads through the ensemble, into a
mesmerizing blur of sound that is part minimalist trance, part
rock solo, and all original. Since I can't quite describe
this CD, I will just say: Find it. Buy it. Listen to
it. I can promise that you will find it full of surprises."Peter Alexander - www.sharpandflatirons.com - June 2016

Of Sound, Mind and Body CD:
"With a very high level of musicianship and listening, this
will surely be one of the year's best improvisatory workouts."Lawrence Joseph - Musicworks - Summer 2016
"National Sawdust...Atacama: Symphony #3,
given its New York premiere by 16 Trinity Wall Street
choirsters and 11 Newspeak ensemble instrumentalists on
Thursday, Oct. 29, 2015....the piece's motion and
emotion is radiantly self-mastered without angry
edges or sharp corners. Over the course of the symphony,
Gregorian chant, trendy Whiteacre choral sounds, jazz, rock
n'roll and classical orchestra were all utilized as
influences, but the final sounds was all its own. Brady's
work is deeply emotive, grounded and elegant."Lana Norris - www.icareifyoulisten.com - Nov. 2015

"Ghost Tango..is a powerful,
disturbing, highly artful piece of theatre about a
woman haunted by her past...it is an inspired, multi-layered
art richly delving into the tragedy of the human experience.
(Soprano) Jackson goes deep into the darkness with fantastic
vocal control and impressive physicality for a chilling
expression of a soul (and body) in anguish. Tim Brady
uses his well-honed language of electric guitar and
electronic devices..to create an entire soundscape
- very intense and layered."
Elissa Bernard - Halifax Chronicle Herald - Sept. 2015

"String Quartet #2: A premier to remember. Say
this for Brady: He writes pieces you want to hear
again, not commissions you quickly forget. Playing
was sonorous, committed and technically impeccable.The
crowd went nuts."
Arthur Kaptainis - Montréal Gazette - July 2014

"Tim Brady's Third Symphony, Atacama, (is) a
work of haunting and explosive power. It
receives an intensely vibrant performance on this new disc
featuring the Montreal-based ensemble VivaVoce and the
instrumental group Bradyworks...Brady's 50-minute
journey is relentless and affecting, especially
shaped with urgent commitment by the combined forces of
VivaVoce and Bradyworks."Donald Rosenberg - Gramophone Magazine - June 2013

"The most striking (performance) was Tim Brady's Atacama:
Symphony #3. Brady is a Montreal guitarist who thinks
big. The movements evolve in interesting ways,
alternating choral and instrumental parts for a while, then
sort of smashing everything into everything else at high
velocity...and it worked well. A
CD of the piece was recently issued by ATMA, and
it's highly recommended."Byron Coley - WIRE Magazine - June 2013

"Tim Brady's own works are stylistically
cross-border and proved atmospheric and
engaging. When words were attached...the imagery
was palpable and strongly etched. Purely instrumental
pieces...showed real flair in capturing the essence
of the instruments, a trait seized upon with
fervour by all the performers".Rodney Smith - Adelaide Advertiser (Australia) - 2014

"Brady has a distinctive musical language
and he can enchant us with his expertise both as a guitarist
and a composer...(he) is an extraordinarily talented guitarist
and these compositions (24 Frames) show his amazing
ability to play in a variety of styles. These are fascinating
experiments in musical sound and I think a great many
people will want to hear them."
Maria Nockin - Fanfare Magazine - 2012

"Brady's 13 excerpts from his recent work 24 Frames
sometimes sounded like a cluster of guitarists,
but there was only one onstage - the composer, who is also a
monster soloist. His nimble-fingered
virtuosity was a big part of these systematic
adventures for electric guitar, with and without digital
delays, unusual tunings and video imagery."Robert Everett-Green - Globe and Mail - 2011

"First
up was guitarist extraordinaire Tim Brady in
a spotlit solo performed on the steps at the front of the
stage. Red Melisma was wistfully bluesy and
virtuosic. Full of unusual and fancy fretwork, it showcased Brady’s
amazing abilities on the instrument. Amplify,
Multiply, Remix and Redefine by Brady enlisted the
talents of 21 electric guitarists...The work paid
homage to the life and work of the late legendary guitarist
Les Paul.

Opening
with the gentlest of strumming, the work washed in sounds much
like wind chimes blowing in the breeze. Brady as
soloist, gave a virtual clinic on the instrument showing its
unbelievable versatility. He is a guitar lovers delight,
seemingly capable of anything. Intriguing bent
notes and impressive riffs were but a few techniques
demonstrated. Solid orchestration set a rather galactic mood,
with strings sweeping like stars and brass loudly announcing
their arrival."

"Bradyworks'
take on the 20th-century was a stunning tour de force.
The continuous flow of video images streaming across the back
wall behind the band amid the unrelenting stream of notes
stunned the Radio Room audience into an amazed silence. The
music completely filled the mind, leaving no room for stray
thoughts or the least urge to daydream. It was
high-enery stuff. The shock came from the stunning
unison playing at high-speed of notes well oustisde the usual
scale and argeggios...These phrases were angular, syncopated,
metrically irregular, articulated by eccentric accents and
powerful enough to elevate your pulse. It was a
tour-de-fource performance."

Stephen
Pedersen - Halifax Chronicle-Herald - Oct. 2009

"Composer/guitarist
Tim Brady presented a strong program of recent works...As
Messier's imagery developed, he used unexpected permutations
of color to create a kind of equilibrium between suggestions
of water and fire, a brilliant equivilant to Brady's guitar
work."

Stuart
Broomer - Musicworks - Winter 2009

"Technically
staggering, Brady's control of a wealth of
sound-processing devices allows him to expand the sound of
one guitar into a very large soundscape. His
layering of delay and oscillation, during the first
composition of the performance, allowed what was initially a
very small group of notes played with a relentlessly rapid
tremolo (up-and-down picking) to evolve almost
imperceptibly. Effects that generated no small amount of
noise made the piece more about texture than tonality, even
as he expanded the piece away from those initial few
notes...his “Double Quartet (Hommage a Shostakovich),” on
which Brady was joined by his Bradyworks group—saxophonist
Andre Leroux, percussionist Catherine Meunier, sampler David
Kronkite and Brigitte Poulin—that wasboth
the performance's longest piece and its highlight.

John
Kelman - AllAboutJazz.com - May 2008

"Chamber
opera's music and video evocative: Tim Brady, our
prince of accessible avant garde, is determined to
keep his 2003 chamber opera "Three Cities in the Life of Dr.
Norman Bethune" in circulation....unlike most
self-proclaimed polystylists, this Montreal composer sounds
coherent, not confused, as he draws on different resources.
Sustaining interest with one character is difficult, but
Brady managed by combining Broadway declamation in the vocal
part with a varied instrumental backdrop that often felt
animated by the rhythmic spirit of bebop. The score
expressed the impassioned lonliness of the character
(Bethune)."
Arthur Kaptainis - The Montreal Gazette - Oct. 2006

"Virtuosic
Bradyworks on tour: Deeply personal performances of
solo pieces were the night's highlights, and began early in
the concert. Brady slapped, popped, plucked, chorded and
pick-slid through his own composition...displayed his
extensive guitar technique, never failing to provide the
audience with a new trick. ...A virtuosic performance of
captivating improvisations and deep explorations into
sound."Eric Lehman - Musicworks Magazine #92 - Summer 2005

"The Salome Dancer
..a very special feature of a particularly outstanding Open
Ears Festival. A major multimedia production (music by
Tim Brady and libretto by John Sobol), the opera provided a
visceral tour through the interweaving fates and aspirations
of a dancer (Tamara Hummel), a preacher (Terence Mierau), a
reporter (Michael Donovan) and a cop (Ian Funk) . Superlative
casting enabled tricky multimedia elements to converge into a
mostly seamless whole....The Bradyworks Ensemble performed
expertly, given a very tricky score which alternated
between the enraged and the frenetic, to the mysterious and
sustained....Breaking the mould for innovative storytelling
and multimedia art, the audience left the theatre moved,
stirred and thought-provoked."Stephen Preece - The Record (Waterloo, Ontario) April 2005

"...Brady is a true mad
scientist of guitar sound, placed on Earth, it seems, to
smash the barriers between high and low culture. His wild
guitar sounds are daggers in the heart of classical music
pretense...the music has a relentless drive to it
and..one has to admire the way that Brady works with Lorraine
Vaillancourt's NEM to bring out their playful side."
Mike Chamberlin / HOUR Weekly 2005 - review of CD "Playing
Guitar: Symphony #1"

"The title suite (Twenty
Quarter Inch Jacks) is a guitarist's fantasy
- composed for 20 players, but performed here solely by Brady.
Over the half-hour length he explores the sonic possibilites
of 120 vibrating strings and no small amount of feedback....the
piece is richly textured and intriguing, like a huge
maze of sound caves.
James Hale / Downbeat 2003

"Tim Brady was a very
interesting discovery. He simultaneously played in a
free and a tightly disciplined style...with astonishing
virtuosity andbrilliant mastery of tone colour,
he created an elegant, flowing, often minimal music, which
developed into all kinds of dramatic and sculptural forms."
Kjeld Frandsen / Berlingske Tidende (Copenhagen) 2001

"Tim Brady's Lightning Field found the right
balance between musical gesture and shapely architecture
in a piece that relied on the virtuosity of the players as
much as on the electronic samplings that contributed
additional menace to its often savage writing."
David Vance / Sydney Morning Herald 2000

"Maybe the most interesting fact about Tim Brady...is the
consistency of his musical style. It is a brilliant
one. And he has been at it long enough to have developed
a long list of new music that works, that regularly gets
through to audiences. He communicates."
Stephen Pedersen / Halifax Chronicle-Herald 2000

"Brady leavens the program with some virtuoso guitar
playing...Huge, swooping electronic waves shimmer and
peal like a carillon. Brady has become the leading proponent
of gaining acceptance of the electric guitar in new music and
Strange Attractors is a strong bridge between the
freedom of jazz and the structure of formal composition. ****
(4 stars)".James Hale / Downbeat 1999

"I
doubt anything could defeat Brady as a player. He is a
true virtuoso."

"Check out Tim Brady's brilliant new CD Scenarios.
Moving from strength to strength over a programme of six
varied works for electric guitar, live electronics and tape, Scenarios
is a masterful display of consummate
craftsmanship, striking innovation and genuine musicality."Andrew Hurlbut / Musicworks 1995

"Revolutionary Songswas entirely convincing.
For all the song cycle's eclecticism (it) remains a remarkably
disciplined piece of writing...the Bradyworks ensemble gave it
a precise, even and altogether controlled performance."Mark Miller / The Globe & Mail 1994

"Brady's guitar floated in an endless melody so
angular and complex, yet so calm and controlled, that I'm
eager to hear it again to calculate what made it tick. What
made it compelling was a secure sense of large scale
harmony...brought to so original a texture. Brady's putting
out so much music, so much of it good, that you're bound
to run into his name again."Kyle Gann / The Village Voice 1991